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LIFE SUPPORT

 

Every day I take up my tools

and each day I resist writing

elegy; there are, the news service says,

whale sharks and manatees

washing up dead on the shores of Florida,

where I spent the best years of my youth. Ninety per cent

of the emperor penguins are gone, and slow lorises

have been decimated, too. A fire storm so huge

it opened up a vacuum in its centre has flattened

Redding, California. Athens has burned, and this time

not from war. Forty thousand fruit bats perished

on their roosts when the temperature rose to forty-five degrees

centigrade.  The world is not itself. I struggle

to describe the world as it was when I grew up in it,

the lizards and beetles, ants and ant lions that scurried

away each time a leaf was turned, the sound

of frogs and cicadas so dense the air

had a feeling like warm milk, the birds everywhere,

their eyes and swift movements

a rich text among the wires and shrubs

and skies. And fish, and crabs; the shallows bright

with them. All of this gone silent, or thinned

to a few broken words, a rough note, an acronym.

But ten per cent, I tell myself, are left, and the

red woods and saguaro have not died, yet;

                                                                          I will not stand

over the world speaking last rites. 

I will take the world we wounded

in my arms. I will bring hands and breath

to it and every medicine. I will call

the doctors in, tell them,

as if we need telling,

save her, save him,

save them.

The harm human activities, especially development and mining, cause places, water, air, animals and plants is hard to write about. The fear and sadness can be overwhelming, and turn to dread, making action feel impossible. Sometimes the grief I feel reading or hearing the news tempts me to lose hope. 'Life Support' is my reminder to myself to keep fighting.

Like 'Three Poems about Sacrifice', 'Life Support' is a crude poem, but unlike 'Three Poems' it is elegy refused. In it I draw on the experience of caring for my mother as she battled grave illness. 'Life Support' rejects the consolations of decorative language in favour of raw description, rough enjambment, a commitment to life and a simple call to action.

First performed at Bimblebox 153 Brisbane launch, 2019. Reading recorded and shared in Marete Megarrity's The Grand Negotiations 2020 (installation).

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All images, writing, video and audio content © Siall Waterbright except where reviews are quoted or publication cover is shown. Where authorship is collaborative all authors are identified and copyright adheres to coauthors and Siall Waterbright. All rights reserved.
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